Posts Tagged ‘Frozen 2’

* Extrapolation 58.1 is out! With articles on Octavia Butler, Aldous Huxley, Neal Stephenson, and Celu Ambsterstone. I’ll give a special endorsement to Donawerth and Scally’s Butler article, which is not only the first article to cite my book (that I know of) but also a truly great study tracing Butler’s footsteps research Kindred in Maryland. Check it out!

The result is “Agency,” Mr. Gibson’s next novel, which Berkley will publish in January. The story unfolds in two timelines: San Francisco in 2017, in an alternate time track where Hillary Clinton won the election and Mr. Trump’s political ambitions were thwarted, and London in the 22nd century, after decades of cataclysmic events have killed 80 percent of humanity.

Mr. Gibson never set out to write a sequel, but the plots of “Agency” and “The Peripheral” converged unexpectedly last fall. He had spent about a year writing “Agency” when the 2016 election rendered the fictional world he had created obsolete. “I assumed that if Trump won, I’d be able to shift a few things and continue to tell my story,” he said. But when he tried tinkering with the draft, he realized that the world had changed too drastically for him to plausibly salvage the story. “It was immediately obvious to me that there had been some fundamental shift and I would have to rebuild the whole thing,” he said.

To clarify: it is perfectly possible that some collusion between Trump’s agents and Russian hackers did indeed occur. But at this point, the empirical question of whether or not it happened is secondary to the deeper psychological need for media pundits, policy wonks, and the professional-managerial strata to maintain their sense of self when the objective historical conditions in which they flourished are being actively dissolved. For liberals, the continued libidinal investment in the drama of the as-yet invisible Trump-Russia scandal actively blocks any realization that the neoliberal order they are trying to restore is already dead on its feet, and that Trump is the uniquely bizarre American expression of a visible worldwide trend: the virulent, deepening nationalist backlash against a financially-integrated global economy based on the relatively free movement of commodities and people. His ascent is a death knell for an entire era and the basic assumptions about economic and political life that shape the worldview of contemporary liberals.

* “Twitter” is an oversimplification. There are many twitters, which is also part of the problem: my twitter and yours are different, but they can come into contact with each other and overlap, and do. We can each think the other person is a holographic projection into our living room, and the rooms are similar enough that we can overlook the ways they are different (and then blame the other person for coming into our house and acting like an asshole). But this also means that talking about what “twitter” is or isn’t, or does, or doesn’t, is a similar exercise in polemic misunderstanding. If the underlying structure of the program is a constant, the conversational norms and practical methods we bring to it will vary, radically and dramatically. Some of the problem is the latter thing: people not only use twitter differently, but they sometimes regard other people’s use of it as illegitimate or wrong. Policing other people on twitter can become particularly heated and vicious, if a police from one jurisdiction comes into another, without knowing it, and attempts to apply one set of laws to someone who thinks they’re operating in another. It rarely ends well. And yet if we keep pretending that there is one twitter (ours), we’ll keep crashing into each other and insisting that it’s the other car that came into my lane. Twitter road rage.

* Recommendation for a quick, great read: Nnedi Okorafor’s novella Binti, an Afrofuturist space-age riff on Harry Potter with more than a little bit of Octavia Butler in there…

* Another thing I’ve been enjoying, which you might too: “Hardcore Game of Thrones” on howl.fm. (First three episodes available for free here.) It’s completely sold me on the viability of a prequel spinoff, and I may actually like it more than the actual series.

* The Norton Writer’s Prize will be awarded annually for an outstanding essay written by an undergraduate. Literacy narratives, literary and other textual analyses, reports, profiles, evaluations, arguments, memoirs, proposals, mixed-genre pieces, and more: any excellent writing done for an undergraduate writing class will be considered. The winner will receive a cash award of $1,500. Two runners-up will each receive a cash award of $1,000.

* Conservatives can be spotted in the sciences and in economics, but they are virtually an endangered species in fields like anthropology, sociology, history and literature. One study found that only 2 percent of English professors are Republicans (although a large share are independents). In contrast, some 18 percent of social scientists say they are Marxist. So it’s easier to find a Marxist in some disciplines than a Republican.

One of those grants, $48 million for Isle de Jean Charles, is something new: the first allocation of federal tax dollars to move an entire community struggling with the impacts of climate change. The divisions the effort has exposed and the logistical and moral dilemmas it has presented point up in microcosm the massive problems the world could face in the coming decades as it confronts a new category of displaced people who have become known as climate refugees.

Ultimately, there’s not much you can say about Daredevil because its not-goodness derives from the fact that it doesn’t have anything to say. This makes it hard to say anything about the way it’s not saying anything. Based on the first season, I would have argued that the show uses the superhero genre tode-familiarize gentrification and the way crime plays into struggles over urban land use. Similarly, I would contend that Jessica Jones uses the superhero-detective genre to de-familiarize trauma and addiction. Coming out — dare I say, being flushed out — of Daredevil season two, I would say that it uses the Batman-genre to re-familiarize the Ninja-genre. And for all the violence it does to its characters and setting, the real problem is this reinvestment in the fetish of ninja violence. The show uses the spectacle ofliteral violence to render unnecessary the organic narrative flow of people just being people in the world. Instead of the hidden injuries and traumas of class, as they play themselves out across our lives, we get a story of a ninja fighting ninjas because, well, ninjas.